  About the Artwork
  
  
  Notice the heart about to be pierced by Cupid's arrow, floating in the right center of the painting. In this playful painting, Florine Stetteheimer depicts herself twice. At the middle left, she appears on a balcony inspired by one at her family's summer home near Buffalo, New York. The mustachioed man lying on the yellow grass beneath the balcony represents the painter, Charles Demuth. Stetteheimer appears at the lower right, imagining herself dancing with a masked figure depressed as a harlequin who represents the conceptual artist, Marcel Duchamp. In both self-portraits her eyes are closed, suggesting that what we see are her memories of past frolics and loves.
  
  
  Title
  Love Flight of a Pink Candy Heart
  
  
  Artwork Date
  1930
  
  Artist
  Florine Stettheimer
  
  
  
  Life Dates
  1871-1944
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  American
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
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  Medium
  Oil on canvas
  
  
  Dimensions
  Unframed: 60 × 40 inches (152.4 × 101.6 cm)
  Framed: 65 1/2 × 45 1/2 × 2 1/2 inches (166.4 × 115.6 × 6.4 cm)
  
  
  Classification
  Paintings
  
  
  Department
  American Art before 1950
  
  
  Credit
  Gift of Miss Ettie Stettheimer
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  51.12
  
  
  Copyright
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